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Artists have long struggled in New York, moving into rough areas, gentrifying them and then getting forced out. But as the city has gotten increasingly expensive, there are few such neighborhoods left to move to, forcing a growing number of artists to abandon the city. Many had hoped the recession would bring down rents, making it easier for them to stay. Instead, rents have barely dropped, and the part-time jobs they depend on for survival have become harder to find. Without a strong arts community, New York risks losing its standing as a creative center, which could have a negative impact on numerous industries that depend on talented employees.
Though there are no official numbers, a survey of 1,000 artists conducted in 2009 by the New York Foundation for the Arts found that more than 43% expected their annual income to drop by 26% to 50% over the next six months, and 11% believed they would have to leave New York within six months. Even more troubling, cultural boosters say, is that for the first time, artists fresh out of art schools around the country are choosing to live in nascent artist communities in regional cities like Detroit and Cleveland—which are dangling incentives to attract this group—and bypassing New York altogether.
louis kahn esherick house chestnut hill pa
In its 34 years of existence, Liberty State Park has lived with approximately 250 acres of contaminated land, fenced off with signs warning of hazardous material. When the park was founded in 1976, there were few expectations that the area would ever recover from its past. Tainted with industrial waste, the swath seemed relegated to little more than an unsightly reminder of industrial recklessness.
But now, after ten years of public debate, environmental studies, and an approved plan in place for a $32 million dollar massive wildlife development project, the area — known as the Interior Natural Area — is set to re-open. And this Saturday, the park will give its second-ever public tour of the area and its dramatic environmental recovery.
In the early 1960s, after his collaboration with Jean Tinguely, Klüver began a long association with Roberg Rauschenberg. Their first collaboration was a work entitled, Dry Cell (1963). Dry Cell combined silkscreens, ink, and paint on plexiglass, as well as metal, string, sound transmitter, wire, circuit board, motor and batteries. An interactive work, Dry Cell engaged the audience in an exchange, a dialog between human and machine, in which the viewers are invited to talk or make other sounds into a microphone on the face of the work. In response, a small propellerlike piece of metal begins to rotate.
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Rauschenberg produced this work in collaboration with engineers Harold Hodges and Per Biorn. It was shown in 1964 as part of the "For Eyes and Ears" exhibition at the Cordier and Ekstrom Gallery in New York.
string quartets thread
Optical Art (Ovals)
12 x 9 in.
Price: $60 + $5 sh
R. Crumb on greed, senior sex and life in France: ‘I’m not less angry’ [updated]
via hyperion fb
paper airplane in space
As SoHo’s iron-boned, sprawling lofts became gold mines over the past two decades, co-op boards, banks, brokers and the city itself winked at a rule requiring that they be reserved for working artists.
But over the last year or so, something odd began to occur: people started paying attention to the rule.
Apartments, even those in buildings with the prestige of famous residents, have languished on the market. Banks began withholding mortgages. Co-op boards began ordering residents to apply to the city for certification as artists.
The conversion of forests to other uses (especially agriculture) and the impoverishment of existing standing forests has been a consistent theme of the 20th century. The trend has many pre-1900s pockets. Greece lost its famous oaks to the axes of northern invaders in pre-Hellenic times. In the 1700s and 1800s, the oak-hickory forests of the American mid-western and southern deciduous forests all fell to wheat, corn and tobacco farms. The forests of southern Europe , Iran , Afghanistan , the Middle East , much of highland China , Nepal , Tibet and Sahelian Africa have been replaced by a shrub/grass complex. Various- kingdoms in West Africa (900s through 1300s) deforested areas for metallurgy, especially smelting.
The global timber trade began in the colonial era, starting in 1550 but accelerating after the post-Napoleanic Wars. Countries that had the transport, capital, technology, and political means extracted wood products from every region of the world. The Thai teak trade, the British extraction of naval stores from the American colonies, and Ghana 's African mahogany trade are three such sagas. In the twentieth century, industrial economies continue to tap the forests of developing economies to meet their own demand for construction wood, veneer, and plywood. Time after time, private investors join national commercial and political interests. Together, they cash in on the short-term profits to be made from timber exports from capital-starved nations. The most recently popularized example is the clearing of rainforests for timber and the replacement of these forests with pasture for export beef cattle. On the other hand, the developing economies have.been, until very recently, completely dependent on the northern industrialized nations (including China) for paper. Their export of timber has, in many cases, almost balanced their import of paper yielding no net gain in income.
down the hatch
Cadmium paints are made with Cadmium sulphide, cadmium-zinc sulphide, cadmium-seleno sulphide, and there are even "Mercadium" variants that have mercury added for greater heat stability. Lithopone (co-preciated with barium sulphate) varieties also exist.
So, the cadmium content cannot be 100%, since at least one atom of sulphur is bonded to each atom of cadmium.
Plus, there is oil in a tube of paint and various other compounds.
One issue with heavy metal paints is solubility. Insoluble molecules tend to be less dangerous than soluble molecules. Some soluble molecules are much more dangerous than others, too. Dimethyl mercury is a lot more dangerous, for instance, than mercuric sulphide (vermilion).
Mumyoi Yaki is a traditional craft of Sado Island (佐渡島) in the Nigata prefecture (新潟県）. Sado Island used to produce huge quantity of gold. Most Japanese associate Sado Island with its gold mine. The Sado gold mine not only produces gold, but also siliver and the most importantly red clay that contains a very high percentage of natural minerals granule. A long time ago, the red clay collected from the gold mine was used as a medicinal concoction. It was applied to the wound to prevent from bleeding.
In 1819, a man by the name of Ito Kanbei (伊藤甚平) began making Raku Ware (楽焼) using the by-product of the gold mine. In 1857, the pottery in Sado Island was further developed by Ito Tomitaro (伊藤富太郎). At that time, red clay was partially used. It was mixed with other clays in order to get a specific character of Raku Yaki.
Self-healing of Concrete by Bacterial Mineral Precipitation
Repairing cracks in concrete structures is a time consuming, costly but necessary business. TU Delft is researching how the self-healing capacity of concrete structures can be improved by using calcite-precipitating bacteria and what conditions are necessary for these bacteria to thrive.
When visitors to Grand Central Terminal look up, the stars will be shining once again. That's because the backwards-painted zodiac on the green-hued ceiling has new LED lights that twinkle in accordance with each star's brightness in the night sky.
“Hotel Gramercy Park” Film Traces the Famous Hotel’s Highs, Lows
catch this running on sundance now if for no other reason than the schnable decorating scenes.